Azuka Theatre presents Idris Goodwin's 'How We Got On'

Azuka founder Raelle Myrick-Hodges, now a busy California-based regional theater director, returns to Philadelphia to stage a nostalgic story about teenage rappers in 1980s suburban midwest America inspired by MTV (back when they still featured music). The impressive young cast features Jerrick Medrano as Hank, who writes raps and fancies himself "John Henry," and James Whitfield as Julian, his crosstown rival who dubs himself "Vic Violence."

Rivals become friends

The two teens predictably bond and are soon collaborators. Goodwin's story grows more complex and real as the boys' fathers weigh in on their hobby, and a female rapper, Luann (Kishia Nixon), threatens their aspirations. Shelby Kay scores with her period costumes, which capture both ‘80s high school nerdiness and colorful hip-hop tracksuit-and-gold-chain fashion.

Zoe Richards, as DJ Selector, narrates from a central booth on Sara Outing's playful set, colorfully lit with a nightclub ambiance by Michael Lambui. Selector, miked by sound designer Lucas Findlay with a silky, purring effect, fondly recalls records ("wax artifacts"), turntable scratchology, and pre-personal computer sound mixing, and provides other background and commentary for those of us too old or too young to recall the rebellious joys of early rap as these teens do. Richards also excels as many other characters, particularly the fathers of all three teens, whose responses to their children's passions will boost or squash their dreams.

Fun and making fun

Goodwin isn't above mocking rap's beginnings, scoring many laughs of recognition while also seriously considering the socio-economic reasons for rap's ascent. Luann's father, for example, dismisses rap as "excuse music" that rejects black success. Hank mocks battle rap as "I'm this, I'm that, you're not." Yet the catchy music and clever rhymes inspire something special in them, much as rock and roll did for the previous generation's white youth (making it easy for an old fogey like me to empathize).

Azuka's energetic production — 80 minutes without intermission — includes a sing-along "Rapper's Delight" (lyrics provided in the program, though few needed them on opening night), and a triumphant final performance by the trio.

Goodwin and Azuka don't shy away from bigger issues, but How We Got On is a refreshingly joyous respite from the serious concerns of Americans regarding race and culture today.

To read Alix Rosenfeld's essay on Azuka's Pay-What-You-Decide season, click here.